Spice, Magic and Mystique
Southeast Asian Choral Repertoire for mixed choir a cappella 12 songs from Indonesia, Malaysia, Philippines, Singapore and Thailand edited by André de Quadros
Carmina mundi
International Federation for Choral Music
C_Carus 2.303
Contents
Title
Composers / Authors*
Country
Page
1. Janger
T/M: traditional A: Augustinus Bambang Jusana Avip Priatna
Indonesia
6
2. Meplalian
T/M: traditional A: Budi Susanto Yohanes
Indonesia
12
3. Rindu kepada kediaman Allah
T: Bible M: Daud Kosasih
Indonesia
18
4. Potong Padi
T/M: traditional A: Nelson Kwei
Malaysia
22
5. Chua-ay
T/M: traditional A: Fabian Obispo
Philippines
26
6. Dumbele
T/M: Rodolfo Delarmente
Philippines
30
7. Katakataka
T/M: Suarez A: Emmanuel Laureola
Philippines
37
8. Night
T/M: Ho Chee Kong
Singapore
42
9. Ni wa wa
T/M: traditional A: Americ Ting-Wei Goh
Singapore
46
10. Xiao he tang shui
T/M: traditional A: Shui Jiang Tian
Singapore
50
11. Impressions
T/M: Zechariah Goh Toh Chai
Singapore
56
12. Phra met ta
T: Bible M: Inchai Srisuwan
Thailand
65
Texts & Program Notes
70
Biographies
74
*Abbreviations: M = Music and (if applicable) A = Arrangement, T = Text
Copying of pieces from this collection is prohibited. Separate editions of titles may be ordered in choral quantity from Carus (www.carus-verlag.com).
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In the 26 years since International Federation for Choral Music (IFCM) was founded, we have worked tirelessly to achieve its stated mission: … to facilitate communication and cultural exchange through choral music. We are pleased to announce a new collaboration with Carus-Verlag to publish fresh, interesting international repertoire and make it available to choirs around the world. Through this partnership, IFCM will help select respected editors whose job it will be to select music from their region of the world that meets the criteria and makes possible cultural exchange. The most recent publication in the Carmina mundi series is Spice, Magic and Mystique, a project that features choral music of Southeast Asia for mixed voices (ed. André de Quadros). Previous publications that have appeared in the series are Choral Music of Israel for Equal Voices (ed. Maya Shavit), Choral Music of South America for Mixed Voices (ed. María Guinand). I am certain that most conductors around the globe are like me in, that they are constantly searching for interesting repertoire that not only is accessible, but that reflects the many cultures of the world. We feel positive that this collaboration will open up further opportunities to achieve this goal and in doing so will help create a more peaceful world through a greater artistic understanding of other lands. Please refer to the International Choral Bulletin for present and coming volumes and CDs, and how you can obtain them. Look for the IFCM and Carus logos for quality international repertoire! Michael J. Anderson, Vice-President International Federation for Choral Music
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Foreword
Southeast Asia is commonly understood to be the region north of Australia, south of China and east of India. With several races, religions, countries, and political systems as well as countless distinct cultures and languages, Southeast Asia is one of the world’s most diverse regions. This volume focuses on the five most chorally active countries in the Southeast Asian region: Indonesia, Malaysia, the Philippines, Singapore, and Thailand. While different in history and culture, these countries share increasing prominence in choral performance and composition. Choirs from the Philippines have been present on the world stage since at least the late 1970s. The excellence of Singaporean choirs has widely been recognized since the 1990s. More recently, the abundance of choirs in Indonesia has included several that have travelled and made their mark in international competitions. Malaysia and Thailand are beginning to compete at an international level; recent events in these two countries indicate a desire on the part of local choral musicians to build a vigorous environment for performance and composition. These advancements appear to signal that the center of gravity in choral music, located in its birthplace in Europe and North America, is starting to shift to Asia. Southeast Asia, with its proximity to strong choral countries, China, Japan, and Korea, will inevitably become even stronger and more organized while the region will likely be more significant not only in performance but in composition as well. As this shift continues, hurdles in music education, conductor training, publishing and copyright, infrastructure, scholarly activity, instrument availability and expertise, and performance venues will continue to be overcome.
ed to churches. In Malaysia (peninsular and East) choirs, although small in number, are integrated into church and community. For its size, Singapore has built an enviable reputation as a society that supports excellence and participation in choral music through substantial government support. The pieces in this volume represent a specific array of compositional and arranging models. Meplalian, Phra met ta, and Rindu kepada are original compositions using traditional melodic and rhythmic elements; Chua-ay, Dumbele, Janger, Potong Padi, Ni wa wa and Xiao he tang shui are arrangements of traditional songs; Impressions and Night are original compositions using specific motivic and rhythmic materials drawn from local musical cultures; and Katakataka is an arrangement of a popular, composed song. This volume seeks to address the lacuna of published choral works from this region by presenting outstanding exemplars, all of which are accessible and easily integrated into standard programs. Choirs and conductors can best achieve authentic performance by obtaining a recording of each piece from the publisher. Pronunciation of all the languages in this volume is facilitated through the pronunciation guide in the supplementary material, but accurate pronunciation will best be achieved through contact with a native speaker. Boston, January 2008
André de Quadros
The birth and spread of choral music in Southeast Asia is directly related to Western colonization, industrialization, and globalization. Further, the spread of Christianity has been an important contributor to the growth of choral music in Southeast Asia. The current circumstances and recent history of each country are dissimilar. The Philippines had a long association with Spain and the USA and the population is at least 80% Christian. Thailand, by contrast, the only country in the region not to have been ruled by a Western power, is predominantly Buddhist, and is only recently developing its choral culture. Even though Indonesia is a Christian minority country (10% approximately), most of the hundreds of choirs are connect4
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André de Quadros is Professor of Music, Director of the School of Music at Boston University, Artistic Director of the Tanglewood Institute and a faculty member at Boston University’s Institute for the Study of Muslim Societies and Civilizations. He studied at the Bombay School of Music, and the University of
Bombay. Graduate studies followed at La Trobe University, at the University of Melbourne, at Monash University, at the Universität “Mozarteum” in Salzburg with a DAAD (German Academic Exchange Service) scholarship, and at the Victorian College of the Arts. He studied violin with Adrian de Mello and conducting with Joachim Buehler from Germany and Robert Rosen from Rumania. He has conducted many major choral works as well as extensively from the Western, South and Southeast Asian a cappella repertoires. Among his many awards is a First Prize in the Australian National Choral Championships. He has taught conducting courses in Australia, Europe, and Southeast Asia. Engagements of note include the Prokofiev Symphony Orchestra (Ukraine), National Youth Choir of Great Britain, Baden-Baden Philharmonic Orchestra (Germany), Shiki Daikunokai Choir and Orchestra (Japan), Penang State Symphony Orchestra and Chorus (Malaysia), the Nusantara Chamber Orchestra (Indonesia), and the Moscow State Radio Symphony Orchestra. Since 2001, he has enjoyed a special relationship with the Studio Cantorum choir in Indonesia with which he has collaborated on several concerts and symposia. Prior to working in the USA, he was Director of Music Performance at Monash University, Australia. He is the Chair of the Multicultural and Ethnic Commission of the International Federation for Choral Music and is the editor of choral series published by Earthsongs and Hinshaw Music in the USA.
Fondly dedicated to my mother, Jean de Quadros
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Texts & Program Notes
1. Janger [Gayatri Mantram:] Om bhur bwah swah tat sawitur warenyem, bargo dewasye dimahi dyoyonad prachodayad. Arakijang jangi janger kopyak epong. Kopyak sede kopyak sedopak dedopong sriag sriog Ngiring mejangeran di jaba tengahe. [Vedic Prayer: Gayatri Mantram is a Hindu prayer which serves as the introduction for the calling of the Holy Spirit.] Oh God, thou art the giver of life, remover of pain and sorrow, bestower of happiness. Oh creator of the universe, may we receive thy supreme sin-destroying light, may thou guide our intellect in the right direction. Ngiring mejangeran di jabe tengahe Cak, ara kijang jangi janger kopyak epong. Kopyak sede kopyak sedopak dedopong. Sriag sriog, ngining mejangeran di jabe tengahe. Let's dance 'Janger' in 'jabe tengahe' [There is no meaning to lines 3 and 4. The sounds are meant to imitate Balinese traditional music.] Swaying to and fro, let us dance Janger in the jabe tengahe. [“jabe tengahe” is the middle section of a traditional Balinese house] The janger is a traditional Balinese song and dance that was introduced to the Indonesian island around 1925. This song is frequently sung by Balinese children while they dance the janger together during evening parties. Janger, “humming” in Balinese, features the sequence of trancelike humming, dancing, and singing from the girls participating in the dance, with boisterous physical and vocal outbursts from the boys. The janger is usually accompanied by instruments from the traditional Balinese gamelan ensemble. In this arrangement, Jusana and Priatna highlight the legato quality of the dance’s beginning, and the more energetic continuation of the dance with its jagged rhythms and quicker tempo. Pronunciation Guide: Balinese All vowels and consonants are pronounced as in church Latin. However, “c” is always like “ch” (“Charlie”) and “j” is always hard (“Jamaica”). 2. Meplalian Penonton-penonton ampun, beribu ampun. Titiang kalintang pongah. Bocah tanpe dasar. Mesolah ulihanjengah. Meplalian briak-briuk sinamian.
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We (the dancers) ask a thousand apologies of the audience; We are innocent children without experience Wanting only to dance our best; Playing and swaying together. Meplalian tells of a group of Balinese children who want to dance but have yet to refine their skills. They apologize to the observers and admit that they would rather play (meplalian) than dance. The piece uses a pentatonic mode (selisir) that selects five tones from the seven-tone pelog scale of Balinese music. The various vocables imitate various traditional Balinese gamelan instruments: tang, ding, dong, deng, dung, dang, and pong imitate keyed bronze metallophones; cah imitates cengceng, Balinese cymbals; and dum imitates the sound of kendang, drums in the Balinese gamelan. Meplalian was premiered in 2004 by the Gracioso Sonora Choir in East Java. Pronunciation Guide: Balinese All vowels and consonants are pronounced as in church Latin. However “c” is always like “ch” (“Charlie”) and “j” is always hard (“Jamaica”). 3. Rindu kepada kediaman Allah (Psalm 84:1, 2, 4) Betapa disenangi tempat kediaman-Mu ya Allah semesta alam Jiwaku hancur karena merindukan pelataran Tuhan Hatiku dan daging ku bersorak so rai kepada Allah yang hidup Berbahagialah orang yang diam di ruma-Mu. Yang terus menerus memuji muji Engkau. How amiable are thy tabernacles, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh crieth out for the living God. Blessed are they that dwell in thy house: King James Version they will be still praising thee. Rindu kepada kediaman Allah was composed in 1994 as a recital piece for students at the Asian Institute for Liturgical Music. It was premiered at the St. Andrew Seminary Chapel in Quezon City, Philippines. The music sets portions of Psalm 84 using a typical pentatonic scale from Java, Indonesia’s most populous island. While the notated pitches are only a Western approximation of the Javanese tuning, they create the characteristic sound and color of the Indonesian gamelan at the hand of the experienced Kosasih. Pronunciation Guide: Bahasa Indonesia All vowels and consonants are pronounced as in church Latin. However “c” is always like “ch” (“Charlie”) and “j” is always hard (“Jamaica”).
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4. Potong Padi Waktu potong padi di tengah sawah Sambil menyanyi bersukaria Marilah kita bersama-sama Memotong padi di tengah sawah Mari, mari potong padi. It is harvest time! While we work In the middle of the paddy field, Let’s sing, dance, and be merry. Come, come harvest the rice paddy. Arranged from a Malay traditional song, Potong Padi depicts the sights and sounds of the rice paddy (padi) during harvest. The melody and lyrics are derived from the work song and dance of farmers as they harvest the rice. Kwei’s beautiful, simple arrangement herein was fashioned for this edition and is based on his own arrangement for men’s chorus. The men’s version was commissioned and premiered by the Victoria School Choir of Singapore for the Singapore Youth Festival Choral Competition in 1995. Pronunciation Guide: Bahasa Melayu All vowels and consonants are pronounced as in church Latin. However “c” is always like “ch” (“change”) and “j” is always hard (“Jamaica”). 5. Chua-ay Chua-ay talum alay takuay Naa antoay tongag pay oang nen ta kuay. She lives in a small nipa hut Hidden behind the mountains. Up and down she goes With the pot on her head. She has a hard time carrying it. Obispo’s Chua-ay is based on a Filipino traditional song sung by the women of the Igorot tribes as they carry water in jugs resting on their heads. The Igorot people are native to the Cordillera region of the Philippines and have maintained many of their traditions despite centuries of Spanish, and more recently, American occupation. Note the mention of the nipa hut, a traditional hut made of bamboo and grasses that is still common throughout the Philippines today. This arrangement of Chua-ay uses quartal harmonies, popular in choral composition in Southeast Asia today. Pronunciation Guide All vowels and consonants are pronounced as in church Latin. 6. Dumbele Dumbele is a piece to accompany ritual and was composed by Delarmente based on Ramon Obusan’s research into dance rituals. The piece depicts a ritual to honor the rain god, Dumbele, after the tribe had suffered for years under a famine which had come as punishment for the people’s Carus 2.303
ingratitude. The work is divided into four parts: the summoning of the people to a ritual in the fields, the response from Dumbele, Dumbele’s downpour, and the thanksgiving that follows. The composition contains onomatopoeic vocables that imitate the sound of rain, transforming from a drizzle to downpour. In its original form, this piece was premiered in the 1980s. The current arrangement alludes to the sound of different animals, especially birds. Pronunciation Guide All vowels and consonants are pronounced as in church Latin. 7. Katakataka Katakatakang mahibang ang katulad ko sa iyo, Birobiro ang simula, ang wakas pala ay ano? Aayaw-ayaw nga ako ngunit ‘yan ay ‘di totoo, Dahil sa iyo, puso kong ito’y binihag mo. Ala-ala ka maging gabi’t-araw, Alipinin mo’y walang kailangan; Marinig ko lang sa labi mo hirang, Na ako’y iibigin lagi habang buhay. It is curious and strange that I should go crazy for you, What was not serious at first has now consumed me. I resisted at first but only by denying my feelings. Because of you my heart has been enslaved. You are in my thoughts day and night, Make me yours and I won’t mind, So long as I hear from your lips, dear, That you will love me all my life. Katakataka is a popular love song written by the prolific Filipino musician Suarez. This arrangement was commissioned for the University of the Philippines Madrigal Singers, and Andrea Veneracion, its founder and conductor. Written in Tagalog, the most commonly spoken language in the Philippines, Laureola intended his arrangement to be capricious, light-hearted, and flirtatious. Pronunciation Guide: Tagalog All vowels and consonants are pronounced as in church Latin, except that the “g” is guttural and the “r” is rolled. 8. Night Night, another one rises. The skies move, it takes its place. Without a farewell, that fleeting moment in time, your face is fading, into the Night. SARS, or Severe Acute Respiratory Syndrome, is a disease that caused a major pandemic between November 2002 and July 2003. Singapore was one of the many Asian countries affected by this communicable disease during this period. At that time, Ho was the organizing chair for the 29th 71
International Computer Music Conference and was facing the dilemma of whether the conference should be cancelled amidst news reports of afflicted persons and deaths. He wrote Night in dedication to the victims of the SARS disease and for the heroic efforts of those who cared for them. The work incorporates some Asian scales and melodic gestures although they are not immediately recognizable as Ho has embedded them in complicated, contemporary harmonies. 9. Ni wa wa Line 1: PRC’s Standard Pinyin Line 2: Phoneticized version in IPA Line 3: Simplified Mandarin Chinese
Clay doll, clay doll, a clay doll. She has those brows, those eyes, eyes that do not blink Clay doll, clay doll, a clay doll. She has that nose, that mouth, a mouth that does not speak. She is unreal, not a genuine child. She has neither a loving mother, nor a father. Clay doll, clay doll, a clay doll. I’ll be her mother; I’ll be her father, loving her forever. 72
Speaking of his setting of this popular children’s song, Goh recalls hearing Ni wa wa as a boy when his mother would sing this traditional song to his sister and him. Although the tune and lyrics convey a simple sentiment, Goh was struck by the strong emotion a child would feel for a small clay doll. Goh chose to set the tune in four miniatures with each version presenting the tune in a different voice: soprano, alto, tenor, and bass, respectively. The tune appears here only as Goh remembers it and he notes that it may be slightly different from the way all the older children of his generation remember it. 10. Xiao he tang shui Line 1: PRC’s Standard Pinyin Line 2: Phoneticized version in IPA Line 3: Simplified Mandarin Chinese
The moon shines out brightly, I remember my girl in the distant mountains. The moon, my sister, walks across the sky, The clear brook below the mountain flows leisurely. The flowing brook is loud and My boy is herding cattle and sheep in the distant mountains. The sheep are stout and the cattle are strong But my love is a good strong man. Carus 2.303
The moon rises and lights half the hill, I see the moon and miss my girl. A cool gust blows up the hill, Do you hear my call brother?
Line 1: Phoneticized version used in score Line 2: Phoneticized version in IPA Line 3: Original script
Xiao he tang shui is a traditional song from Midu county in the Yunnan province of China. In the mountains of the province, shepherds would graze their sheep and cattle. These shepherds, and their romance, are the topic of this short work. Note the impression of the young man’s voice depicted in the solo at the beginning, and the sense of flowing water composed into the bass voice toward the end. Shui’s setting expands the choir to eight parts for a full, lush range of harmonies. 11. Impressions Impressions represents Goh’s stylized depiction of the gamelan more than an actual imitation. The piece was commissioned by the Co-Curricular Activities Branch of the Ministry of Education for the Singapore Youth Festival in 2003. Goh uses various vocables like dung or deng to recall the sounds of various metal percussion instruments in a gamelan ensemble. The composition contains onomatopoeic vocables that imitate the sounds of a gamelan. His setting offers a bright, percussive sound with which he seeks to express the exuberance of youth. Pronunciation Guide All vowels and consonants are pronounced as in church Latin. 12. Phra met ta – The Lord God is merciful He will not lead me astray. Make my heart steadfast Walk according to Thy will Make my heart firm in Thee, The Lord of mercy. Let me follow Thee So I may never stray from Thy will. So I may walk according to Thy will. Make my heart firm.
Pronunciation Guide: Thai Thai has been transliterated here into vowels and consonants as close to church Latin as possible. The Thai language uses duration and inflective direction in the pronunciation of vowels which are superseded by musical pitch and rhythm when sung. The Latin vowels here are approximate and assistance from a native speaker will be particularly beneficial. The diphthong “oe” is pronounced like the “ö” in German and the “d” is dentalized.
Srisuwan’s original composition, Phra met ta, is a setting of two verses from Psalm 25 adapted by Ruth Srisuwan. The a cappella setting for four voices builds an intense polyphonic texture all within the pentatonic scale. The work was written while Srisuwan was a student at the Asian Institute for Liturgical Music in the Philippines. The composer describes it as a prayer written during a challenging and difficult period of his life.
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Biographies
Rodolfo Delarmente Delarmente has enjoyed a long and highly-praised career as professor and conductor at De La Salle University in Manila, Philippines. His choirs have toured the world, including a renowned series of tours through Europe in the 1990s and 2000s. He has received commendations at every level, among them recognition as conductor of the year from the then-President Ferdinand Marcos. His arrangements and compositions are performed by choirs across Southeast Asia and his prominence in the choral world is acknowledged internationally. Miguel Felipe Conductor and teacher, Felipe served as assistant to the editor for this volume. He has been on the faculty of Brown University and The Boston Conservatory, USA. He also teaches conducting at Boston University where he earned his graduate degree in conducting. Felipe is the conductor of the Boston Choral Ensemble and has served a dozen years as a church musician. His research includes the choral music of Indonesia and contemporary choral works of western Europe. His collaborations with André de Quadros include choral editions published by Earthsongs and Hinshaw Music. Americ Ting-Wei Goh Singaporean composer Americ Ting-Wei Goh studied composition in the Nanyang Academy of Fine Arts, Singapore, under John Sharpley and Goh Toh Chai. He also studied composition under Leong Yoon Pin and Jennifer Tham and abroad at the Universität für Musik und Darstellende Kunst, Graz. His music has been performed by choral and instrumental ensembles in Singapore such as the SYC Ensemble Singers, The Singers, Amadeus Choral Society and school choirs, Philharmonic Winds, Mus’Art Percussion Ensemble, and the Singapore Wind Symphony Percussion Ensemble. Zechariah Goh Toh Chai Goh received his doctoral degree in composition from the University of Kansas and is now the head of composition at the Nanyang Academy of Fine Arts, Singapore. He is recipient of many awards including the Anthony Cius Award for Composition in Kansas and the Young Artist Award for composition from the National Arts Council of Singapore. Goh Toh Chai’s choral music has been premiered and performed by the Victoria Chorale, National University Choir, and Tampines Junior College Choir under the direction of Nelson Kwei. He has composed works for orchestra, wind ensemble, piano, choir, and chamber ensemble. Ho Chee Kong Ho earned his doctorate in composition from the University of Cincinnati College-Conservatory of Music and has written for both Western and Chinese ensembles. His works have been performed around the world including in Japan, Mexico, Canada, Hungary, USA, and Singapore. In 74
addition to works for traditional instruments, Ho’s output includes works for electro-acoustic and computer media. He is involved in research on issues related to music in modern society, music and organization, and music in multi-media productions. Ho is associate professor and head of composition at the Yong Siew Toh Conservatory of Music, National University of Singapore. Daud Kosasih The composer and teacher Daud Kosasih attended the Asian Institute for Liturgy and Music (AILM) in the Philippines where, in 1989, he earned a degree in church music. After receiving his degree he continued studying conducting and composition and received a graduate degree from Tainan Theological College and Seminary, Taiwan. As a composer he has worked with Francisco Feliciano, Ramon Santos, Carlton Young, and Yang Tshung Hsien. He currently serves as the President of the Medan (Indonesia) Choral Society. Nelson Kwei Kwei is a conductor, arranger, and teacher. He was educated in the UK at the Guildhall School of Music. He has since become a highly-honored conductor and recipient of numerous awards and commendations for his contributions to the field of choral music. He has been honored by organizations such as the Japanese Chamber of Commerce and Industry, the Petr Eben International Choral Competition, and the Choir Olympics held in Germany and China. Presently he is Chairman of the Choral Directors’ Association, Singapore, and a member of Singapore’s National Arts Council’s Advisory Board for Choral Development. Emmanuel Laureola Composer and pianist Emmanuel Laureola was born in 1940 and resides in the Philippines. He has earned undergraduate and graduate degrees in piano performance and has played for numerous school and church choirs. He was a member of the Philippine Madrigal Singers from 1963–1983 serving, for a time, as assistant conductor and resident composerarranger. While a member of this ensemble, he worked with its conductor and founder Andrea Veneracion. His compositions and arrangements include many Filipino folk songs as well as several compositions. Augustinus Bambang Jusana Born in 1970, Jusana attended the Parahyangan Catholic University in Bandung, Indonesia, where he sang in the university choir and studied conducting with Avip Priatna. He currently conducts the Maranatha Christian University Choir, Bandung; the Perbanas Institute of Economics Choir, Jakarta; and the Indosat Vocal Club Choir, Jakarta. He has toured with his choirs around Southeast Asia and as far as Germany, Greece, and Spain.
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Fabian Obispo Composer Fabian Obispo studied at the University of the Philippines and the Manhattan School of Music and now lives in New York. His early experiences writing for voice date to the late 1960s when he was a composer/arranger for the well-known Philippine Madrigal Singers. He then served until 1986 as the music director of the New York Philippine Folk Arts Festival. Today his time is spent as a freelance composer and sound designer. He has over a dozen musical productions to his name. Avip Priatna Priatna is a prominent conductor in Indonesia. He was born in 1964 and originally trained as a pianist. He has degrees in architecture from Parahyangan Catholic University in Bandung and in music from the Hochschule für Musik und Darstellende Kunst, Vienna. He currently serves as conductor of the Parahyangan Catholic University Choir, Batavia Madrigal Singers, and Jakarta Chamber Orchestra. With his choirs, Priatna has travelled across Asia and Europe conducting both Western choral repertoire as well as recent works from Southeast Asia. Shui Jiang Tian The Chinese composer and conductor Shui was born in 1964. His largely self-taught musical career began with study of er-hu and violin as a young boy. He later attended the Northwestern Polytechnic University in Shaanxi Province where he composed for and conducted the university’s chorus and orchestra. Shui relocated to Singapore in 1991 where he has continued his activities as a conductor. His compositions have been performed in Asia as well as in Hungary, Italy, and the USA. Three of his works – Usuli Boat Song, Cui Dong Cui, and Sing Sing So – were recorded by the Philharmonic Chamber Choir, Singapore, for release in 1999. Inchai Srisuwan Born in 1953, Srisuwan is an ethnomusicologist and composer living in Bangkok. He was born in Chiang Mai, northern Thailand, and received his first degree in church music at the Payap University. His studies continued in the 1980s at the Asian Institute for Liturgy and Music (AILM) in the Philippines where he earned degrees in ethnomusicology and composition. His research has included the development of his own notational system to help disseminate the oral instrumental traditions of central Thailand. He now works as a church musician and as a composer. Budi Susanto Yohanes Budi Susanto was born in 1979 in Blitar, East Java, Indonesia, and originally trained as an electrical engineer. He is the founder and conductor of the Gracioso Sonora Choir for whom he writes many of his works. Today he is focused primarily on teaching voice, conducting, and arranging folk songs for Indonesian choirs. His widespread reputation as a composer has resulted in his receiving commissions and performances from around Southeast Asia and beyond.
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Carus in cooperation with IFCM International Federation for Choral Music
Southeast Asia
Southeast Asia Choral Repertoire
Carmina Mundi
International Choral Repertoire
International Federation for Choral Music
Israel
Choral Repertoire from Israel
Sabbath, the Queen
Carmina mundi
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SATB
International Federation for Choral Music
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Latin America
Makumbebé
Latin American Choral Repertoire
Carmina mundi
edited by Maya Shavit
Spice, Magic and Mystique Choral Repertoire from Southeast for mixed choir edited by André de Quadros Carus 2.303
Asia
Sabbath, the Queen Choral Repertoire from Israel for mixed choir edited by Maya Shavit Carus 2.304
Carmina mundi
Open the Gates Choral Repertoire from Israel for equal voices edited by Maya Shavit Carus 2.504 Makumbebé Choral Repertoire from for mixed choir edited by María Guinand Carus 2.302
edited by María Guinand
SSA
International Federation for Choral Music
Carmina mundi
Latin America
SATB
Israel
Open the Gates Choral Repertoire from Israel
edited by André de Quadros
edited by Maya Shavit
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Latin America
Makumbebé II
SATB
Latin American Choral Repertoire
Spice, Magic and Mystique
Carmina mundi
Makumbebé II Choral Repertoire from
SSAA
edited by María Guinand
Latin America
International Federation for Choral Music
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for equal voices edited by María Guinand Carus 2.502
International Federation for Choral Music
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Diese Reihe wird in Verbindung mit IFCM fortgesetzt. This series will be continued in cooperation with IFCM.
C_Carus
www.carus-verlag.com
